Neal Stephenson’s Reamde (2011): a Critique of Gamification Neal Stephenson’s writing has in many ways shaped post-cyberpunk science fiction as well as having a massive influence on real-world technology, so his move to realism with 2011’s Reamde offers an opportunity to understand science fiction’s changing relationship to realism in the twenty-first century. Stephenson is considered a core cyberpunk writer thanks to 1992’s Snow Crash, a novel that depicts an online virtual world known as the ‘Metaverse’. This novel is based on the premise that the actions of an online world could have a material impact on participants outside of the game: namely, gamers can be brain damaged by a computer virus. Stephenson has continued to explore these themes throughout his career, but recently through contemporary settings, rather than the futures of his science fiction. Stephenson’s Reamde could therefore be considered an example of ‘science fiction realism’, a term coined by Veronica Hollinger to describe William Gibson’s Pattern Recognition (2003), a novel which also uses science fictional tropes and techniques, but in a contemporary setting. Reamde, like Pattern Recognition, also borrows tropes from the thriller and espionage genres as it spans over a thousand pages and many continents, weaving an international story of adventure, kidnapping and terrorism. The novel tells the story of Zula, an Eritrean orphan who was later adopted by gun-toting parents from Ohio in the USA. Zula’s boyfriend Peter sells some credit card data to an unhinged member of the Russian mafia known as Ivanov, only to find that the information has become encoded by a Chinese hacker known as ‘the Troll’ using a file called REAMDE (a misspelling of the common filename, README). Zula and Peter are kidnapped by the Russians and brought to China where they are forced to help discover the identity of the hacker in order to free the data. The Chinese hacker holds the data ransom until victims agree to pay him in the game world of T’Rain, a massive multiplayer online role-playing game (MMORPG) which happens to have been the brainchild of Zula’s uncle, Richard Forthrast. As the novel continues some of the key events happen within the world of the game as the stakes that have always been real for the Chinese hackers, making their living through online worlds, become real for Richard and his family as they try to save Zula. After escaping the Russians, Zula falls into the hands of Welsh terrorist Abdullah Jones and his gang who fly her to Canada before a final showdown in the woods of the northern USA. Like Gibson, Stephenson is reacting to a present that changes too quickly for a future to be extrapolated by moving from cyberpunk to realism, but his novel still performs one of the most important tasks of which science fiction is capable: it considers the potential impact of a current trend in order to allow the reader to question their contemporary paradigms. In Reamde Stephenson primarily critiques gamification, the increasingly common application of games and gaming models to ‘real’ life problems. Gamification’s roots are found in marketing as public relations companies attempt to harness the compulsive nature of games in order to keep consumers engaged with their brands and, ultimately, to sell more products. Although this desire to make gaming mechanisms marketable was the original impetus behind gamification there have been calls from some proponents to use these techniques in every aspect of life. Game designer Jane McGonigal has been one of its most vocal supporters through her book Reality is Broken: Why Games Make Us Better and How We Can Change the World (2011) as well as through multiple public appearances and a TED talk with over three million views (McGonigal 2010).1 McGonigal has since somewhat distanced herself from the term ‘gamification’ in a welcome acknowledgement of some of its problems but she continues to promote other tactics of gamification under the rubric of ‘gameful design’, which seeks to bring the ‘feeling’ of a game to real life situations and to use this feeling to encourage the development of life goals or greater social projects (Alexander 2011). While the most visible aspects of gamification in marketing (such as 1 badges and superficial rewards) have been recognised by McGonigal and others as somewhat cynical and potentially exploitative, there is still an effort to salvage the more significant, less visible aspects of gamification such as its potential to manipulate everyday behaviour and to harness online gamers as a ‘human resource’ to solve problems such as climate change, obesity, poverty and global conflict (McGonigal 2010). In Reality is Broken, McGonigal urges just such a radical use of gaming models to change the ways in which human beings relate to the reality of the world around them: What if we decided to use everything we know about game design to fix what’s wrong with reality? What if we started to live our real lives like gamers, lead our real businesses and communities like game designers, and think about solving real-world problems like computer and video game theorists? Imagine a near future in which most of the real world works more like a video game. (McGonigal 2011: 7) The problem that gamification can apparently address is a lack of ‘engagement’, or a sense that the ‘real’ world is not as fun as it should be. This lack of engagement is attributed to the chaos and complexity of contemporary society. For example, Gabe Zichermann claims that: gamification is needed more than ever. We live in a world of increasing distraction and complexity, where organizations need to cut through the noise and users need systems that can help them achieve their full potential. Well done gamification has the power to accomplish that and more. (2013a: n.p.)2 This emphasis on ‘cutting through the noise’ gives little thought to the value of our attention. It assumes that ‘engagement’ alone is a goal worth striving for. However, in doing so, gamification treats engagement as a commodity. A technique that can force consumers to pay attention to certain brands, or encourage employees to be more productive has a high monetary value and gamification seeks to profit from that value. The applications for gamification are also thought to be limited because goal-oriented models, such as those found in video games, can encourage people to meet a pre-assigned goal, but not to deal with a complex situation. This is less of a problem if the task is simply to keep a consumer engaged with a brand, or to keep an employee engaged in productive labour. Some of these criticisms have been aired by Ian Bogost in ‘Why Gamification is Bullshit’ (2011). Bogost draws on Harry G. Frankfurt’s essay ‘On Bullshit’ (1988) in which the philosopher unpicks the specific meaning of the term ‘bullshit’ and its importance in our culture. Frankfurt argues that bullshitters, unlike liars, have no interest in the truth and no relationship to it: their words and deeds are designed to create an illusion for their own benefit, to pull the wool over the eyes of their interlocutor in order to achieve their own ends. Through this understanding Bogost concludes that gamification is indeed bullshit as there is no interest in finding out whether gamification has positive potential, only in using it as a marketing tool. This being the case, Bogost suggests the term ‘exploitationware’ might be more appropriate. Stephenson’s novel performs the very thought experiment that McGonigal suggests and imagines our contemporary world as working ‘more like a video game’. He engages with the gamification of our societies, our relationships and our minds in Reamde, as we will see from a consideration of Zula as the focalising character and the primary locus of morality in the world of the novel. Before looking at this more closely however I will explain Stephenson’s relationship to science fiction in this novel and how he continues to use the future to analyse the present, even when that future is already upon us. Science fiction has always been used to analyse the present, particularly the impact of new technologies on contemporary modes of being, and Stephenson’s most recent novel is no exception, but 2 instead of an explicit engagement with science fiction Stephenson writes Reamde as a thriller, somewhat closer to the realist mode. This decision is an important step in understanding the project he undertakes in the novel and the ways in which he criticizes contemporary society. Stephenson’s science fiction realism Stephenson’s move from science fiction to realism in this novel as he critiques the very contemporary issue of gamification echoes that of his contemporary, William Gibson, who also uses contemporary settings in his Blue Ant trilogy (2003-10). Both Stephenson and Gibson have been instrumental in building science fiction’s reputation for, not predicting, but performatively creating the future. Gibson famously coined the term ‘cyberspace’ in Neuromancer (1984), while Stephenson’s Snow Crash uses the word ‘avatar’ to refer to an online persona for the first time and describes an online world where avatars could engage with one another: something that, at the time, was only possible in science fiction. Stephenson describes his main character Hiro’s experience of this online, immersive environment: ‘So Hiro’s not actually here at all. He’s in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse’ (22). This Metaverse was later credited by Philip Rosedale, creator of the online virtual space Second Life as a key inspiration (Maney 2007) and Stephenson jokes in Reamde about his description of a programme strikingly similar to Google Earth in Snow Crash, years before: ‘The opening screen of T’Rain was a frank rip-off of what you saw when you booted up Google Earth.